#sixth magazine

[antojos-raros]

Sixth Sense Number6/1990

Comme des Garçons

[liltingaway]

pieces from sixth dimension

i know nothing about this brand, i just love these

[unifiedintelligencetaskwhores]

One fun part of collecting these magazines is just how many posters one can acquire. Once DWM left it's newsprint era and started including centerfolds, we got these posters of varying sizes and quality.

Most are 1 to 2 glossed A4 sheets in size, except for the 20th Anniversary poster, which is 2x2 A4 sheets.

[please-attend-carefully]

Cursed Doctor Who Magazine images.

[electronicartisanfury]

[silverfoxstole]

CURIOUSER AND CURIOUSER

DOCTOR WHO MAGAZINE 337 10TH DECEMBER 2003

BY BENJAMIN COOK

“He’s imbued with this slice of evil,” explains Paul McGann, when I ask him to tell me about the Eighth Doctor’s current predicament… “I won’t go into the whole detail of it, because I’ve only just recorded it. I’ll still be trying to figure it out tonight! But yeah, the Doctor’s a bit of a bastard in this one. And that’s great. What’s fun, what’s nice to play, is a dark side…”

“You have more fun being a baddie,” confirms Peter Davison, who’s wearing exactly the same T-shirt that he wore for the recording of The Sirens of Time half-a-decade earlier (his own way of commemorating the anniversary, perhaps?). “There are more things to do with a bastard.”

“There’s more space, there’s more latitude, there’s more elbowroom with a baddie,” agrees Paul. “The good guys have to be patently good, if you know what I mean. They have to look noble.” Is there nothing that Doctor Who can’t do? “I don’t think so. That’s the beauty of it, isn’t it?”

“Maybe there are some things,” Colin Baker chips in, “but if we say what they are you can bet that somebody will come up with a script that includes precisely those things – and it’ll work. You can say that the Doctor could never massacre a thousand innocent children, but if someone came up with a script that gave a very good reason why he should…well, then I’d do it.”

“You could have said that Doctor Who can’t sing,” smiles Sylvester McCoy, pointing accusingly at Colin Baker.

“He sang? When?” Paul grins. “Why didn’t they ask me to sing?”

“Actually, when I heard,” says Colin, “that they were doing a Gilbert and Sullivan [see Doctor Who and the Pirates], I thought, ‘This is taking it too far.’ But I read the script and it gave entirely credible reasons why the Doctor would sing. It’s one of the most moving scripts I’ve read in terms of the context in which the Doctor decides to do what he does.”

“A barbershop quartet!” exclaims Peter Davison, quite suddenly. “Wouldn’t it be perfect? It’d be perfect, wouldn’t it?” The Four Doctors, he means. “Yeah, we’d go down a storm.” At conventions, I suggest. “I’m thinking bigger than that. We could be huge…”

“Worldwide domination,” whispers Sylvester McCoy, menacingly.

…..

“The hero has to be unmistakable,” suggests Colin Baker, “but that bad person can be anyone.” His voice drops to a whisper. “They might not reveal themselves. You know what I mean?”

“There’s just more room there,” says Paul McGann, “with a baddie, you know?” Does it ever get a bit dull, then, playing a do-gooder like the Doctor? “I don’t know if he is a do-gooder – in considering, for example, how he was exiled from his homeland. He has a bit of a record. He’s a bit erratic and – what’s the word?”

“Eccentric!” offers Peter Davison. “He could be your uncle, who’s the black sheep of the family, who all the children love and the parents disapprove of.”

“I was going to say ‘fractious’. I mean, sure,” Paul says, “he’s a force for good, and he understands that, and doesn’t mind admitting it, but they never call if good. No one ever talks about ‘good’ and ‘bad’, or ‘good’ and ‘evil’, do they? I mean, there’s never quite that, sort of, quasi-religious thing going on. No, it’s just power corrupting and fights around the universe.”

Peter says: “He’s definitely anti-authority in many ways.”

“That’s why I’m attracted to him,” joins in Sylvester, “and I think why other people are as well.”

….

“Is Paul being regenerated?” frowns Sylvester McCoy, leafing through his script. “Is this the end?”

“Yeah. We decided that’s it.” Gary Russell grins. “We don’t want to do Doctor Who any more. That’s it, it’s finished now.”

“Richard E Grant,” persists Sylvester. “Is he not taking over?”

“Richard Who?” Gary laughs. “No, doesn’t mean anything to me!”

“Yes, well, when people have said to me, ‘Who do you think would make a good Doctor?’, I’ve often said Richard E Grant,” insists Sylvester. “He may be a touch young, but he’s definitely the right kind of eccentric, quirky character. Knowing that people want a younger Doctor, he’ll fit the bill really well, won’t he?”

“And he’s quite well-known in his own right,” says Peter Davison, “so I don’t think he’ll get lost in it – unless he becomes the television Doctor. In that case, it won’t swamp everything he’s doing, but it’ll change his life quite dramatically, I should think. He knows what it’s like to have a fanbase thing, because of what Withnail and I brought him…”

What advice would they give the new TV Doctor? “I wouldn’t presume to give anybody any advice,” declares Colin Baker.

“Why should we help him?” grins Paul McGann. “To hell with him!”

In studio, Gary Russell and Lalla Ward are debating whether Romana would use the word ‘poppycock’. “You’re right, Lalla. It should, of course, be ‘affirmative’. But you did enjoy ‘poppycock’, didn’t you?”

“I loved poppycock!”

“Let’s keep it, then. Maybe you could just - ”

“A bit more ‘poppy’ and a bit less ‘cock’?”

Gary Russell sighs. “It’s going to be one of those days, isn’t it?”

“I haven’t even ravished the universe yet,” bemoans Paul McGann.

“I’ve got two hearts,” Lalla boasts. “I don’t need to ravish anything!”

…..

“There’s a jokey rivalry. Yeah, of course there is,” says Peter Davison, when asked about working with the other three Doctors. “It’s like any actor with another actor, really. When we meet up, it’s not for real. And we do put it on a bit.”

Colin Baker says: “And there’s probably an underlying rivalry that we don’t acknowledge – you know, he has that script and I don’t…”

“A shorthand between any group of people that work together is to be rude,” continues Peter.

“It’s a very British phenomenon, that. You insult your workmates,” says Colin, “and that means you like them! The people you don’t insult and have a go at are the ones that you actually don’t like, so you don’t want to get involved in anything with them. Of course we have a go at each other and take the mick. We’re all terribly disrespectful!”

…..

“Actually,” says Nicola Bryant, scanning through her next scene, “this makes a lot more sense than the last scene I was doing…”

“It isn’t supposed to make sense,” cries Gary Russell, poking his head out of the studio door. “The only bits that make sense are the bits that Alan Barnes wrote. All of my bits make no sense at all!”

Colin Baker says this: “I mean, Zagreus – it’s so labyrinthine and so clever, and, even though there are bits that I don’t understand, I know that I will understand them when I listen to it. It deals with huge issues about the nature of the Time Lords and their history and their future – entirely appropriate for a 40th anniversary.”

“It’s very weird,” says Paul. “That’s nice. It’s good when it’s weird.”

“It’s quite a milestone,” says Peter Davison, “I see no reason why it shouldn’t go on and on. I think it’s rather nice. I can’t think of many shows that have reached that milestone. And like anyone else, I want to know what happens next…or before…or alternatively…or as well. It fills in a lot of gaps.”

……

“I like the Doctor,” concludes Paul. “He wears his background, and he wears his solitude sometimes. He’s a little bit, for some people, hard to get to know, and definitely, for others, hard to get to like. There are the complexities there that we come across daily. But there is, of course, the hero aspect of him – from time to time. He’s the white knight. It goes in and out – he can be very, very good and very, very bad. I’d hate it if he were always the sword of truth and justice – a cleansing agent. It’d be boring. It’d just be boring. It’d be Borax, in fact, folks!

“It’ll be interesting to see what happens next…”

[doctorwhoandthemidjourney]

All Hail Frobisher, All Hail The Big Talking Bird!

'The Holy Terror'

[mothmanyeetus]

Got a bunch of DW magazines since they were in a cheap lot!

6 canonically gives Peri a nightmare because she fatshamed him and told him he should eat a salad.

I’m sorry but that’s hilarious.

[poisonbat]

Doctor Who: Voyager

[tomoleary]

Don Martin "One Day on the Sixth Floor" Mad #243 original back cover art (EC, Dec. 1983) Source

[chineseredcarpet]

Tan Jianci for T Magazine China’s The Sixth Annual International Style Conference

[lexie-squirrel]

[unifiedintelligencetaskwhores]

Received a new lot of DWM (Depraved Weird Men) in the mail today

[thedoctorwhocompanion]

Out Now: Bonnie Langford Returns as Mel in Doctor Who Magazine #595

Out Now: Bonnie Langford Returns as Mel in #DoctorWho Magazine #595

The latest issue of Doctor Who Magazine puts Bonnie Lanford centre stage as she’s set to return to Doctor Who as Sixth and Seventh Doctor companion, Mel Bush! This is her first major interview since her return was announced; Melanie Bush is set to come back, opposite Ncuti Gatwa’s Fifteenth Doctor, for the Series 14 finale. Plus, DWM includes We Need to Talk About Mel Bush, arguing that Mel is…

[halestromthewhoobsessed]

Frobisher’s timeline is messier than any Moffat story arc- he first meets the 6th Doctor as he’s traveling alone in The Shape Shifter, leading you to assume you can slot this in the gap between Peri and Evelyn or Evelyn and Mel. There’s an apparition of her in Fun House, which is foreshadowing her rejoining the TARDIS team for the rest of 6’s comic run. So we’d assume this might take place between Season 22 and 23, featuring a new temporary Peri departure left unseen. But here’s the kicker- 7’s first ever comic features Frobisher and no other companions, where he’s reacting to Peri’s departure like it’s just occurred, and there’s no indication of any gap in Frobisher’s travel time. So did Peri rejoin and leave again? Is Mel just temporarily dropped off? What is going on MAKE IT MAKE SENSE

[dustedmagazine]

Art Ensemble of Chicago — The Sixth Decade: From Paris To Paris (Rogueart)

THE SIXTH DECADE - FROM PARIS TO PARIS by ART ENSEMBLE OF CHICAGO

Paris looms large in the history of the Art Ensemble Of Chicago. While Roscoe Mitchell, Joseph Jarman, Malachi Favors and Lester Bowie had already played together in varying configurations, often as the Art Ensemble or the Roscoe Mitchell Art Ensemble, they did not adopt the name for which they would ever after be known until they played their first gig abroad in June 1969. That began a European sojourn that transformed them from one of the Art Ensemble of Chicago’s hardest-hustling bands to a force to be reckoned with globally.

The Sixth Decade may well represent the closing of a circle. For while the Art Ensemble’s motto, “Great Black Music from the Ancient to the Future” proposes that the sounds will live on, it would not be a big surprise if this is how the Art Ensemble goes out. Only two members, woodwinds/percussion player Mitchell and drummer Don Moye, are still alive. They are aged 82 and 76 respectively at press time and living on different continents. One supposes that if they were looking for a tidy wrap-up, it’s hard to beat playing their final concert in the same town 50 years after their first one. And the Art Ensemble’s latest chapter, represented by this double album and the 2019 release, We Are on the Edge, is like no other in its history, even as it sums up much that has gone before. 

Typically a four or five piece, it had grown to a 19-member orchestra by the time it made it to the Festival Sons d’Hiver in February 2020. Its complement included a four-member African drumming group, brass and string sections, and three vocalists. Roco Córdova and Erina Newkirk brought operatic chops to realize Mitchell’s art songs, while Moor Mother’s booming declarations invoked the great span of history referenced by that motto. The assemblage mixed generations, genders and ethnicities in ways that previous ones never had. Its repertoire spanned old themes and new compositions spanning spoken word ceremonials, contemporary classical, funky grooves and rolling percussion. For sheer enormity and inclusion, it’s hard to top. 

But it would be fair for a skeptic to ask, how does this record sit on a shelf that includes classics like People in Sorrow, A Jackson in the House, Nice Guys, and Bap-Tizum? To swipe a line uttered by Lester Bowie in “Jazz Death?” back in 1967, it depends on what you know. It’s certainly a more ambitious effort than the working holiday souvenir, Coming Home Jamaica. The execution of the various styles, and the transitions between them, are more fluid than on We Are On The Edge, reflecting the fact that the group had been playing this music across the globe for over a year. Moor Mother’s increased presence makes one wish for an ongoing project involving her, Mitchell, Moye, and a few more dedicated keepers of the ceremonial groove. But some of Mitchell’s classical material feels shoehorned like it’s there more to argue the point that they can play it all than because it enhances their grand sonic tapestry. 

Bill Meyer